Uma looks like a plastic action figure in this picture. It almost looks like she was airbrushed or made of wax.

I can't wait for this movie, either. I'm looking forward to more of Michael Madsen. He looked really cool in the first one, and I hope he has a really cool story to go along with the look. Cowboy assassin....awesome...I can't wait

Yeah, initially I thought like that too though. I thought to myself, "oh fuck, I just saw an awesome shot from the film. I've just going to make sure I don't look at any of these photos online." But then I reminded myself that the trailers will just be unavoidable... so oh well. I wish I could just see the film though on its own. I'd be blown away. You know, I think we should all boycott trailers....

Is it true that this is supposed to have a Spaghetti Western feel/aspect to it?

yeah. a large portion of it is set in texas. its supposed to have a very different feel to volume 1.

from an interview with daryl hannah

Quote

How much fighting do you have to do in the second part of Kill Bill?

A lot. (Laughs) I’m the only diva left. I was trained for sword fighting, and it was scripted for sword fighting, but when we were shooting, Quentin had seen a movie called Jackass, and he changed it. He would get stupid ideas like, ‘Today, let’s throw snot in your face!’ (Laughs) ‘And then today, we’re going to flush your head down the toilet!’ he would laugh hysterically and make me do it again and again. I was thinking, ‘Johnny Knoxville, I’m going to kill you!’

By Clark Collis Everything about Kill Bill Vol. 2 has been kept top-secret. Until now. Uma Thurman and Quentin Tarantino spill their guts on why it had to be even more brutal than Vol. 1.

Quentin Tarantino waits until I’m sitting comfortably before reaching across the table and savagely plunging his fingers into my right shoulder. “This is the Eagle’s Claw—it’s all about grabbing and ripping,” says the director, doing just that. “It’s like your hands become talons. Guys who really do Eagle’s Claw can pick up those gigantic vats of wine with just their fingers.”

Under normal circumstances, having your shoulder blade rearranged by the most influential filmmaker of the past 30 years would be more than a little troubling. The Reservoir Dogs auteur may have a reputation for being king of all film geeks, but in his case geek does not equal pussy. This is the man, after all, who once dealt with a rude taxi driver by beating him up. But, mercifully, I’m not about to become another victim of Tarantino’s wrath—I’m merely being given a demo of the skills the director learned while prepping his latest cinematic creations, Kill Bill Vol. 1 and Vol. 2.

“We didn’t learn real martial arts,” explains Tarantino, who actually rolled up to our appointment at Los Angeles’ Four Seasons hotel in Kill Bill’s bright yellow “Pussy Wagon” pickup. “I’ve always been into kung fu, but I don’t have the fucking patience to do this shit for nine years. We learned movie martial arts, which is funner, actually. But if I tried to use that movie shit, I’d get my ass kicked.”

They may only have been learning “movie shit,” but that didn’t keep Tarantino from insisting that key Kill Bill cast members endure an intense three-month course of physical training prior to the start of what has become one of the most talked-about movie projects of all time. Originally due to begin shooting in 2001, the project was delayed when star Uma Thurman became pregnant. Tarantino and Thurman had teamed to cook up her character—vengeance-fueled hitwoman the Bride—way back on the set of 1994’s Pulp Fiction, and Tarantino refused to consider replacing her.

Once production finally started in Beijing, the budget swiftly ballooned from its original $39 million to $55 million. The House of Blue Leaves sequence alone, in which Thurman dispatches dozens of Lucy Liu’s bodyguards, took eight weeks, the same as Pulp Fiction’s entire shooting schedule. Not that it was all work—at least not after Tarantino discovered that in China it was possible to buy “E that was beyond acid.”

rest of article in new Maxim onsale now. anybody find the rest of it?

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Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.

Filmmaker and burgeoning film composer Robert Rodriguez will compose music for pal Quentin Tarantino's upcoming "Kill Bill-Vol. 2."

The Texas-based filmmaker -- who not only writes and directs his movies but also edits, shoots, creates visual effects and composes them -- made the announcement Wednesday during the first day of the second annual Hollywood Reporter/Billboard Film and TV Music Conference at the Renaissance Hollywood Hotel.

For most of his lecture, Rodriguez discussed how he made the leap from filmmaker to composer on such films as "Once Upon a Time in Mexico" and "Spy Kids 3-D: Game Over." But he also talked of how composers need to empower themselves and try to get in earlier in the process.

"These are dangerous times, where people's scores get tossed out at the last second and another composer is brought in two weeks before release," Rodriguez said. "When was the last time you heard an actor was replaced on a movie after he shot his entire performance? For some reason, composers aren't treated the same way as the other collaborators, even though their job is just as important to the emotional content of the movie. And I didn't realize that until I started composing.

"Right now, music is an afterthought," he added. "But it shouldn't be that way."

Rodriguez suggested that composers are sometimes treated as if they are disposable because their work process "seems like voodoo" to directors and producers.

He said composers need to come in much earlier in the moviemaking process, and he advised composers to talk to not only a film's director but also its actors and screenwriters, even going so far as to look at past script drafts for insight.

"Write from a place of character," Rodriguez said. "If you can't feel it, how will your audience feel it?"

Rodriguez also gave the many composers in the room an exercise: Write a theme for your parents and children, and then set it to a home movie. He gave an example of how he did that with his own mother. "I dare you to not bawl your eyes out," he said as he choked up at the memory of his experiment.

Additionally, Rodriguez chatted about how he likes to impose budgetary constraints on himself because that forces him to be more creative.

"You can have the biggest budget in the world, but it won't guarantee you a good movie," he said. "You actually guarantee yourself more creativity with less money. You're forced to be creative, and that's what would make a movie good, or least more personal."

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“Don't think about making art, just get it done. Let everyone else decide if it's good or bad, whether they love it or hate it. While they are deciding, make even more art.” - Andy Warhol